Melisa (Fairmont Hotel) is an early work in Catherine Opie's practice, made in 1987. It introduces themes that would become central to her work: portraiture as an encounter between photographer and sitter, the exploration of identity and presence, and the ways we choose to present ourselves.

Images of reclining nude women have appeared throughout much of art history. Often created from a male perspective, these works have tended to position women as objects of desire, inviting questions about sexualisation and objectification. How does this change when a woman photographs the same subject? Does this photograph still involve elements of objectification or sexualisation, even though Opie approaches her sitters with dignity and respect? Is sexualisation always something negative, or can being desired also involve a form of agency and power?

In her early portraits, Opie photographed people from her own community as well as individuals from a range of subcultural environments. This photograph can therefore be seen as part of her wider interest in how people present themselves, and in how photography can create a space for visibility, recognition and self-expression.